Superimposing Dominant Scales Over Static Minor Chords

Add depth and interest to your music

When it comes to music theory, there are many ways to add color and depth to a chord progression. One popular technique is superimposing dominant scales over static minor chords. This can create a tension-filled, yet resolved sound that can add a unique flavor to your jazz guitar arrangements.

Before we dive into the specifics of how to superimpose dominant scales over minor chords, it’s important to understand what each of these terms mean. A minor chord consists of three notes: the root, the minor third, and the perfect fifth. For example, an A minor chord would contain the notes A, C, and E. On the other hand, a dominant scale is a seven-note scale that is commonly used in many genres of music. It is created by taking a major scale and lowering the seventh note by a half step. For example, the G dominant scale would contain the notes G, A, B, C, D, E, and F.

Now, let’s look at how to superimpose dominant scales over minor chords. To do this, you need to select a dominant scale that contains the same root note as the minor chord you are playing. For example, if you are playing an A minor chord, you would want to use a dominant scale that starts on A. In this case, the dominant scale you would use is the A dominant scale.

Once you have selected the dominant scale, you can start to play it over the A minor chord. The notes in the A dominant scale will create tension against the A minor chord, but they will also resolve to the notes in the A minor chord. This creates a unique sound that can add depth and interest to your chord progression.

To make this concept even clearer, let’s look at an example. Let’s say you are playing a simple chord progression in the key of C, which includes a C minor chord, an F minor chord, and a G dominant chord. To superimpose a dominant scale over the C minor chord, you would select the C dominant scale. This scale includes the notes C, D, E, F, G, A, and Bb. When you play this scale over the C minor chord, you will create tension by including the note Bb, which is not part of the C minor chord. However, this tension will be resolved when you play the note Bb in the G dominant chord, which is part of the G dominant scale.

Another way to superimpose dominant scales over static minor chords is to use what is known as a “blues scale.” The blues scale is a six-note scale that is commonly used in blues and rock music. It is created by taking a pentatonic scale and adding a blue note, which is a note that is played at a slightly lower pitch than the other notes in the scale. For example, the A blues scale would contain the notes A, C, D, Eb, E, and G.

To superimpose the blues scale over a static minor chord, you can use the same technique as with the dominant scale. Select a blues scale that contains the same root note as the minor chord you are playing. For example, if you are playing an E minor chord, you would want to use the E blues scale.

When you play the blues scale over the E minor chord, you will create tension by including the notes D# and G, which are not part of the E minor chord. However, these notes will be resolved when you play the E minor chord, which contains the notes E, G, and B.

Superimposing dominant scales over static minor chords is a powerful technique that can add depth and interest to your music. By selecting a dominant or blues scale that contains the same root note as the minor chord you are playing, you can superimpose the sound to add color to your playing.

To dive further into this advanced jazz guitar concept, Genil Castro’s lesson on Going Outside: The Melodic Minor #5 dives deep into superimposing dominant scales over minor chords.

February 15, 2023

1 responses on "Superimposing Dominant Scales Over Static Minor Chords"

  1. Hi Mike, sorry, but I don’t quite understand. Bb IS contained in a C minor(dorian) scale, therefore using a Bb will not create tension. Also, Bb is NOT contained in a G dominant scale so the resolution is not there. It is playing the E-natural of the C dominant scale against the Eb in the C minor that would create tension.

    Am I missing something?

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